“Page-turners they were not.” Star Wars: The Last Jedi, A Christmas Story Live!, and the failure of marketing

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There are few pieces of holiday entertainment about which I am more excited than the arrival of a new Star Wars flick or a live television musical event, and, yet, somehow, it took me a good week get around to watching Disney/LucasFilm’s Star Wars: The Last Jedi and soon-to-be-Disney-corporate-stablemate FOX’s A Christmas Story Live! In part, that is because we insane monkeys (humanity writ large) feel the absurd need to cram ALL POSSIBLE JOY and festivity into the four-plus week span between Thanksgiving and New Year’s, leaving January a bleak and empty month of snow drifts and credit card bills. Consequently, the things we might put at the top of our list under any normal circumstances slide depressingly to the bottom of our “must do”s.

Yet, there was something else about both Last Jedi and A Christmas Story Live! … I wasn’t that excited to see either. The messaging and advertising surrounding both events couldn’t have “buried the lede” worse, and I believe that the “backlash” or audience disappointment in both is less a result of the quality of the work (both are actually excellent in wildly divergent ways) and more a result of misaligned promotional efforts.

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Did you know Christmas Story Live!, brilliantly directed with military precision and classic Broadway charm by Scott Ellis and Alex Rudzinski, was a musical by Oscar-winning Benj Pasek and Justin Paul (La La Land) before you started watching? We theatre geeks did, but all of the commercials promoting the three-hour event conveniently bypassed that there would be, you know, singing and dancing galore. As a result, Twitter lit up like the “dumpster fire,” which internet trolls accused the show of being, with self-righteous indignation that “childhoods were being ruined” by the introduction of “musical numbers” to such a “great classic.”

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Let’s also note, for the record, that the original 1983 Christmas Story (which is a pretty perfect confection, even if it suffers from some now-tone-deaf misogyny and racism) was a flop that only found life in video store rentals and through HBO’s habit back then of running forgotten films 38 times a day. It has become beloved, but that doesn’t mean some tinkering couldn’t benefit the timeworn tale.

It’s an absolute shame that audiences didn’t embrace this new production, and I can only hope that this TV-musical finds its own cult following on YouTube or NetFlix or whatever venues now allow 8-year-olds to watch any piece of entertainment to the point of nausea. The cast for A Christmas Story Live! was sublime, from a warm and winning Maya Rudolph and Chris Diamantopoulos as the parents to a crackling Jane Krakowski and Ana Gasteyer as the teacher and Mrs. Schwartz respectively. Nary a beat was missed, and even the to-be-expected line flubs (“purkey”) were handled with grace and aplomb. The role of Ralphie was split between a lovely and magically omnipresent Matthew Broderick (adult narrator Ralphie) – who mixed just the right holiday cocktail of sentiment and cynicism – and a remarkable Andy Walken (child Ralphie) – who buried all annoying “look at me” child actor tics in a star-making performance that propelled every scene with heart and raw talent. Walken is one to watch.

(By the way, broadcasters, please cut down the number of in-show commercials. You’re killing the momentum and joy of a stage-show-on-TV by shilling for Old Navy every 8 minutes.)

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Much like FOX’s production of Grease Live!, the camera whizzed and swooshed from interiors to back lot streetscapes to fantasy playgrounds and back again accompanied by a literal army of extras who populated each locale with verve. Standout numbers included Gasteyer’s “In the Market for a Miracle,” Rudolph’s “What a Mother Does,” Diamantopoulos’ “A Major Award,” Krakowski’s “You’ll Shoot Your Eye Out,” and the children’s ensemble “When You’re a Wimp.” The musical expands on the original film’s notions of inclusion balanced with the bittersweet comic realities of half-remembered holiday times, giving the female characters an agency and authority lacking in the 1983 script and discovering shades of sympathy for both the bullies and the bullied on the playground and in life. (Including PSAs for folks to go out and adopt rescue dogs like those amazing canine thespians portraying the Bumpus hounds didn’t hurt either.) It’s just a shame FOX was too chicken to promote the musical honestly and directly. I triple-dog-dare the execs to rethink their approach if there is a next time, but I’m sure the suits will blame the show itself and not their mishandling of its promotion.

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My lumps of coal aren’t only reserved for FOX’s marketing team, but Disney/LucasFilm’s as well. (For those Star Wars fans who have patiently – or impatiently – read through my analysis of A Christmas Story Live!, thank you. Now go watch it, and fast forward through the commercials.) The ads for Star Wars: The Last Jedi were nigh inescapable. No shock there. Disney has pretty successfully re-established the franchise as a holiday tradition – first with 2015’s The Force Awakens, then last year’s Rogue One – and that means advertising the bejeezus out of each new film’s imminent arrival.

However, the ads for Last Jedi overplayed the “trust no spoilers, for there be amazing twists and turns here” hyperbole. We nerds who grew up anxiously awaiting the familial, Shakespearean revelations offered by each subsequent episode of the previous two trilogies walked into Last Jedi ready to gobble up a smorgasbord of “galaxy far, far away” secrets: who was Supreme Leader Snoke (Andy Serkis); who are Rey’s parents; why has Luke Skywalker withdrawn from life; how does Captain Phasma (Gwendoline Christie) keep her armor so dang shiny; why is Kylo Ren (Adam Driver) such a pouty brat? The marketing for the film had us all whipped into a lather that had nothing to do with the actual film Rian Johnson gave us, and that also is a damn shame. We do get a few of these answers, but mostly Johnson challenges whether or not any of those questions should be asked in the first place.

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Was the film too long by half, suffering from a meandering and episodic structure that seemed more suited to the small screen than the large? Perhaps. Did Johnson riff on The Empire Strikes Back‘s structure in a similarly derivative way to J.J. Abram’s lifting passages wholesale from A New Hope for Force Awakens. Kinda. Was it disappointing that Johnson basically thumbed his nose at our expectations for the same regurgitated Joseph Campbell hero-quest stuff that has fueled every Star Wars movie to date?  Damn straight. And rather exhilarating as well. Like cold water in one’s face on a mid-December evening.

I admit I was bored silly at times, and I nervously giggled at some (perhaps intentional) Spaceballs-esque series-self-satire. (Could that New Order/Resistance three hour-long-slow-ass chase through space be any weirder?). However, I also appreciated that – yes, not unlike A Christmas Story Live! – Johnson mines and reinvents the source material, jettisoning the self-satisfied reverence holding it back and embracing the core essence of what hippie Baby Boomer filmmakers like Lucas and Spielberg and Henson were trying to achieve with their 70s and 80s cinematic fantasias. Lucas always came this close to feminism and to embracing diversity in his films, but always fell short, leaving us with the same white male space-knights-in-shining-armor we’ve always had. Johnson, with Last Jedi, gives us a Star Wars allegory rich with thorny and difficult implications for modern-day America.

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An “evil empire” propping up and propped up by the one-percent (note: I hated the “casino planet” sequence in Last Jedi, until I realized how truly subversive it is) aims to squash the “spark” of individuality across the galaxy. They are challenged at every turn in Last Jedi by a rag-tag band of characters who wouldn’t be out of place among the human cast of Sesame Street … or a Benetton ad: a feisty female mechanic (Kelly Marie Tran) who isn’t going to suffer any fools gladly; an “I’m-With-Her” battle-scarred princess-cum-general (Carrie Fisher) who leads with wit not super-powers; a purple-haired-don’t-nobody-mansplain-to-me admiral (Laura Dern) who carries her own agenda with no apologies; a fighter pilot (Oscar Isaac) who gets his impulsive swagger handed back in shreds by Fisher and Dern and likes it; a former Stormtrooper (John Boyega) who finally learns that love not self-aggrandizing-self-sacrifice is true heroism; and a nascent Jedi who learns that the lessons she needed were in her own heart all along (Daisy Ridley).

The cast, for the most part, is great, saddled with a talky script that fails to match the pure swashbuckling-zip of previous films in the series. Blasphemous as it may sound, I wasn’t  particularly taken with Fisher’s performance, which appeared to run the gamut from sort-of-exhausted to “I’m so tired of this sh*t.” Mark Hamill, on the other hand, delivers a career-best turn as a defeated and curmudgeonly Luke Skywalker for whom life has been crueler and less rewarding than the once optimistic farm boy had ever anticipated. Hamill is no Sir Alec Guinness (by a long shot). Yet, it is interesting and a tad surreal to see Hamill now playing the cranky Jedi mentor to a young whippersnapper (Ridley) at roughly the same age Guinness was when he appeared in a similar role (Obi Wan Kenobi) in A New Hope.

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I exited the theatre from The Last Jedi disappointed and ambivalent. However, as I reflected the next day, I realized I was doing a disservice to the film Rian Johnson made because it didn’t align with the film I expected. I daresay it deserves a second viewing, on its own merits and divorced from its own discombobulated marketing campaign.

As one character (who shall remain a surprise for those who haven’t seen Last Jedi) wryly observes about a stack of old Jedi training manuals, “Page-turners they were not.” Both The Last Jedi and A Christmas Story Live! are more thoughtful and challenging than the easy and comfortable “page-turner”  nostalgia pitched in their respective marketing campaigns. I hope they both get their due.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). 

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In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“Droid, please.” Star Wars: The Force Awakens

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[Image Source: Wikipedia]

With the clarion blast of John Williams’ trademark fanfare, a militaristic waterfall of brassy notes, Star Wars returns to the silver screen in “Episode VII,” otherwise known as The Force Awakens.

Director J.J. Abrams (Star Trek, Star Trek Into Darkness, Super 8) has been entrusted (wisely) by the slick branding minds at the Mouse House, LucasFilm’s new owners, to inject the franchise with a postmodern jolt of nostalgia-fueled adrenaline, after the late 90s/early 00s prequel series failed to sustain fanboy adoration.

Let me add that I find some of the rampant hatred of Phantom Menace, Attack of the Clones, and Revenge of the Sith (oh, those names) a bit disingenuous, lemming-like, and arguably age-ist. We nerds were all lined up in geeky hysteria to devour those films, debate their merits, and consume every last bit of merchandising. Were we thrilled with the films? Not totally. Were they ponderous, meandering, and wooden? Heck, yeah. Did we care? No, because we loved this bizarre universe that was less sci-fi and more Land of Oz with its blend of preposterous names (Count Dooku?), anthropomorphic machinery, fuzzy Muppet-y sidekicks, and simplistic delineation of right from wrong.

Now, we all want to kick George Lucas to the curb, like some previous homeowner who had terrible taste in shag carpeting since we know so much better with our Ikea coffee tables and stainless steel appliances. We seem to be saying, “Go away, you doddering old man. We don’t care if you created all of this from broad cloth. You’re tiresome.” That bugs me. A lot. Maybe it’s because I’ll likely be 50 years old when this latest trilogy wraps up or because I will be forever grateful to Lucas for all the backyard adventures he fueled for this plucky only child, but I think he deserves a break and our gratitude.

…That said, I’m sure glad he didn’t direct this latest installment.

Abrams is not the most ingenious of directors. If Spielberg and Lucas, his most immediate forebears, were consummate recyclers of B-movie tropes (Indiana Jones, Jaws, and, yes, Star Wars), then Abrams is, at best, a fabulous remixer. He takes the Spielberg/Lucas greatest hits, adds a dash of irony, self-satirizing humor, marketing panache, and copious lens flares in a transfixing gift for cinematic misdirection. Take his two Star Trek films, for instance.  Great fun, right?  Yet, there is not one original thought between them that wasn’t already expressed a hundred times over in earlier Trek films and series. Into Darkness is pretty much a remake/reinvention of one of the better films Wrath of Khan infused with the earth-bound whimsy of the best Star Trek … The Voyage Home.

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Little Roy and Friends

That’s what Abrams does, and that’s just fine. The instinct for escapist self-preservation is Hollywood’s bread and butter, and, with the assured success of Force Awakens, Abrams is sure to be Tinseltown’s favorite son.

Star Wars: The Force Awakens gives us everything we want, with few surprises. While every other Star Wars film has debuted in May to provide air-conditioned cinematic asylum from the hottest days of the year, Force Awakens arrives just in time for Christmas. Not unlike those Disney Park rides that dump you right into a gift shop so you can load up on memory-preserving souvenirs, this film seems built to send you packing to Toys R Us posthaste for some last minute stocking stuffers. Just like the holidays, Force Awakens showers us with familiar, comforting indulgences.

X-Wing and Tie Fighters engaged in balletic dog fights, every sound effect you remember well-preserved but with new paint jobs so you’ll have to capture the newest miniature versions for your personal fleet at home. C-3P0 (Anthony Daniels) and R2D2 (Kenny Baker) are still fussy as ever, but with a little third-act intrigue to keep you guessing. Chewbacca (Peter Mayhew) remains adorable as a Golden Retriever on two legs who happens to be really adept at piloting the Millennium Falcon. Han (Harrison Ford) and Leia (Carrie Fisher – who looks like she’s about to crack a joke every time she speaks, thank goodness) are a little grayer and wizened, mercifully winking at the proceedings but also providing much-needed flesh-and-blood poignancy. Any tears I shed were all due to the two of them – both from my joy at seeing them in these iconic roles again and in their ability to inhabit those characters, thirty years later, so effortlessly.

The plot (spoiler … well, 38-year-old spoiler) is pretty much a carbon copy of Star Wars: A New Hope,  itself ripped off just two movies later for Return of the Jedi. Scary fascists (this time called “The First Order”) in matching outfits can’t tolerate free-thought or weirdly-featured cantina-frequenting creatures, so they build a big ol’ planet-sized armageddon machine; and Dorothy and The Tin Man and The Scarecrow and The Cowardly Lion blow it up real good and save the universe (for now). Actually, that sounds a bit like rhetoric from the Republican presidential debates. Maybe a disenfranchised Lucas is moonlighting for Trump these days?

Damn, Force Awakens is fun, though. Seeing beloved characters in a place and time you’ve worshipped since you were a kid is akin to the perfect extended family reunion … that is, if you liked your extended family. Abrams is a canny filmmaker. He uses the free-pass such familiarity brings to introduce a new generation (literally and figuratively) of characters who end up carrying the torch quite nicely. Furthermore, Abrams layers an Empire Strikes Back-style ominous gloom over Force Awakens’ Saturday matinee escapades – a sense of forboding that holds welcome promise for future installments.

Adam Driver (Girls) channels Millennial angst as antagonist Kylo Ren – imagine Darth Vader with ADHD. Oscar Issac (Inside Llewyn Davis) is all Errol Flynn swashbuckling swagger as pilot Poe Dameron.  John Boyega (Attack the Block) as turncoat Stormtrooper Finn and newcomer Daisy Ridley as scrappy orphan Rey are the heart and soul of the film. Like the film’s viewers, these two actors have grown up admiring the fantasy and the fiction of the Star Wars universe. Consequently, they bleed respect, wit, and warmth for their characters and for the heroic quests they get to play, yet they escape the overly reverent quagmire that afflicted prequel stars Natalie Portman and Hayden Christensen. (Boyega’s seemingly ad libbed “Droid, please.” to the equally affable, Chaplinesque, volleyball-shaped robot BB-8 exemplifies his free-wheeling, contemporary comic approach.)

I will also commend Abrams for bringing us our most diverse Star Wars cast yet, offering a galactic reflection of our earthly life today. About time.

It wouldn’t be Star Wars without an action-figure phalanx of oddball spirit guides and gleamingly militant heavies (played by a Love Boat-sized cast of “special guest stars”). Spotting them is like playing a space-faring game of Where’s Waldo? Look, Daniel Craig is a cheeky Stormtrooper! Look, Max Von Sydow is Alec Guiness! Look, Gwendolyn Christie is a cheeky chrome-plated Stormtrooper! Look, Domhnall Gleeson is Peter Cushing! Look, Andy Serkis is Gollum-channeling-The-Wizard-of-Oz! Look, Lupita Nyong’o is … Yoda?

Star Wars: The Force Awakens will satisfy all you playground Han Solos and Leia Organas and Luke Skywalkers. Indeed, the 12-year-old boy in me was transported … a long time ago in a galaxy far, far away. In that sense, Abrams and crew did their job flawlessly. But this installment was easy. The audience was waiting and appreciative to see the old band back together, playing the classic tracks we know and love.

The trick for the upcoming films (to mix Abrams’ Star franchises blasphemously)? To explore strange new worlds, to seek out new life and new civilizations, to boldly go where no (hu)man has gone before.

I look forward to it.

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Roy_Star_WarsReel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

 

 

 

 

 

12 Days of Social Media: Yours Truly

NERD Roy UpdateThanks to Gail Lamarche and the Legal Marketing Association‘s Social Media Special Interest Group for including me in their series of interviews this month “12 Days of Social Media.” Gail writes (very kindly, I might add): “I’m thrilled to participate today and share insights from a great in-house friend from the Motor City, Roy Sexton from Trott Law, PC. I first met Roy at a LMA National Conference in Orlando a couple years ago when he attended the Social Media SIG’s Tweet-up. Since then, Roy is quickly becoming an integral part of the LMA community and currently serves as a board member-at-large for the Midwest Chapter.”  You can read the original post here.

 

1. What’s the next big thing in social media marketing for law firms in 2016?

I think the next big thing remains the last big thing. And it’s not some kind of zippy technology or shiny new platform. It remains the ever-elusive crossroads of great content and authentic engagement. I had a relative give me grief once, querying “How can you have so many friends?” with a particularly sniffy emphasis on the word friends. I wish I’d had the presence of mind to reply, “How can you not?”

The reality is that we and our colleagues, as professionals (and, cough, being of a certain age) have accumulated hundreds, nay, thousands of connections in our lives. Some stronger than others, obviously, but social media in all its permutations offers us the ultimate efficiency machine in drawing all the threads of our respective lives in a one-stop shop. The problem therein is in the authenticity of those relationships as evidenced by the time we do – or even can – spend developing them, and perhaps that was the heart of my cousin’s question (though I rather doubt the inquiry was that nuanced).

lgfmlwmcYou can’t just gather up an army of digital acolytes and hope something magical happens in order to promote your service or to achieve your desired business outcomes. You have to engage these people in meaningful ways that add value to their daily lives. As in life, a social media relationship is a transaction. It can be small – making sure you acknowledge a client/co-worker/colleague birthday – or big – writing a killer blog post that gives great analysis on a developing legislative issue or case victory.

The point is this: figure out the recipe that brings you success in your in-person relationships and apply that to the digital world. And, if you figure that out for yourself, you will be able to work wonders for your attorneys or your clients. You will be bringing them value and insight personally, and you will also be able to provide coaching and mentoring to help them do the same for their own networks. It’s been said before, but don’t approach social media as a task or as a campaign tactic (even if that is basically what it is), but rather position social media as a key component of your (and your organization’s) daily voice, both personally and professionally.

 

2. Who do you see doing social media marketing right, and what can others learn from them?

I get frustrated when I see us only look at what other law firms are doing in this space. Competitive benchmarking is important, of course, but I think the biggest innovation and the best work is happening in other industries or even in the white hot glare of celebrity culture.

How many marketers fit in an elevator?

Take Disney for example. None of us will ever have the budgets (or the legion of marketing minions) that the Mouse House has at its white-gloved disposal. However, you can still learn from what they are doing well, even if it borders on market saturation. With the launch of a new tent-pole like Avengers: Age of Ultron or the ubiquitous Star Wars: The Force Awakens, they have successfully leveraged the personal appeal of the professionals involved (the film stars), encouraging (and likely requiring) them to tweet, post, kvetch about their respective films in their own inimitable voices. Carrie Fisher alone, with her mix of cheek and charm, has been doing yeoman’s work singlehandedly making every Baby Boomer want to see a film about which they might have been otherwise indifferent. Disney has also supplied content across all levels of potential engagement – scientists to fanboys – in an endless series of articles, seriously journalistic and seriously not, using that old standby SEO to have a new wave of clickbait waiting on your device every time you log on.

I also look at celebrities – like Felicia Day (The Guild) or Katy Perry or even, heaven help us, Miley Cyrus and some of our politicians – who have used a digital space to expand their brand, personally and professionally, creating the very real illusion that they are interacting meaningfully with those who buy their stuff and sharing TMI as a channel for launching a new book/download/video. It’s the old Johnny Carson/Barbara Walters-confessional on steroids … but utterly controlled by the confessor.

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So what? Why should we as legal marketers care? Because this is what we ourselves consume in our downtime and this is increasingly how the world expects to interact with its stars, its service providers, its industry, its government, and so on. No attorney should ever mimic Miley in their social media protocols. Ever. Yet, the days where you could legitimately say “Well, I use LinkedIn for professional contacts and Facebook for personal” are over. Social media is the new golf course or cocktail party where a conversation can flow naturally from the personal to the professional and back again. It doesn’t replace in-person interaction but it sure as heck enhances it.

And one final note – benchmark within LMA and look at your fellow members who do such a great job of branding themselves as individuals and as key members of their respective organizations: Nancy Myrland, Lindsay Griffiths, Heather Morse-Geller, Laura Toledo, Jonathan Fitzgarrald, Gail Lamarche, Tim Corcoran, Catherine MacDonagh, Lance Godard, Adrian Lurssen, Gina Rubel, Darryl Cross, and many others I’m leaving out so I don’t sound like a total sycophant.

Check out their pages – Facebook, LinkedIn, Twitter and their blogs – study how they glide between humor and insight, poignancy and camp, silliness and impressive data-driven analysis. Benchmark that and see what lessons you can import to the good work you do for yourself and your firm.

 

3. What’s the biggest challenge for law firms trying to be active in the social media space, and how can they overcome it?

I just hate that occasionally we still find ourselves in the defensive position of talking colleagues off a ledge about social media, but it is the reality we will always face. And, honestly, I think it’s a healthy tension to have. Marketers, (no offense, as I include myself in this) tend to get giddy about a glittering new creative idea, so having a countervailing force in our lives asking “Why, how much, what will be achieved, and what are the risks?” is really important. We may ask ourselves those questions, but, if we are already smitten with the idea, we may not be as objectively agnostic as warranted. Well-navigated pressure refines an idea and strengthens resolve. Use it to your advantage.

My fellow panelists

Beyond that, I think another hurdle is in creating crisp clarity of voice. The trick is creating a social media profile for our firms that has a collective consistency while still allowing the wonderful and accomplished individuals within those firms to shine through. There can be a tendency toward marketing homogenization where the writing all sounds like it is coming from a machine. You have to fight that, and create messaging that seems to be coming from real people. How do you do that? Well, let real people do the writing, and create the guidance/parameters for both marketing pieces and individual attorney efforts that will provide solace to managing partners who fear (rightly so) any erosion of client privilege or a glib post that devolves into a PR crisis.

Walking that high-wire act between inspiring creativity and controlling outcomes is the biggest challenge in this sphere, and I don’t think there is an easy answer. You have to look honestly at your own skills and deficiencies as a leader, to review opportunistically what are assets and what are limitations in your respective firm cultures, to gauge what your clients will accept/appreciate and how they themselves are interacting with their clients and business partners, and to be crystal clear about what is proper practice in the legal industry (regional/state/national). Once you’ve done that work – with integrity and enthusiasm – then you can properly achieve the right consensus that will engage your colleagues and help them connect with your clients.Me with Gail, Josh, Laura, Lindsay, Nancy


Connect with Roy …

 

Roy Sexton serves as Senior Vice President of Corporate Affairs at Trott Law, P.C., a Metro Detroit law firm specializing in all facets of real estate finance legal work, including litigation, bankruptcy, eviction, REO and default servicing – www.trottlaw.com. In addition to leading Trott Law’s marketing and strategic planning, Sexton is responsible for the overall organizational and cultural communication and change, business development, service line planning, facility planning and support, and other administrative oversight.

Prior to joining Trott Law, Roy spent 10 years in various planning and communications roles at Oakwood Healthcare System, serving as the corporate director of strategic communications and planning. In this role he led a staff of 20 marketing professionals and developed the strategic direction for the $1 billion health care system. He also worked at Deloitte Consulting.

Keep CalmRoy earned his Bachelor’s degree from Wabash College in 1995 and is a 1997 graduate of The Ohio State University, where he earned his Master’s degree in Theatre. In 2007, Roy graduated with his MBA from the University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y, is a governor-appointed member of the Michigan Council of Labor and Economic Growth and was appointed to the Michigan Mortgage Lenders Association Board of Governors (local and now state) in 2012. Roy has been involved on the following nonprofit boards and committees: First Step, Michigan Quality Council, National MS Society, ASPCA, Wabash College Southeast Michigan Alumni Association, Penny Seats Theatre Company and the Spotlight Players. He is a published author with two books Reel Roy Reviews, Volumes 1 & 2 (based on his blog of the same name – www.reelroyreviews.com). He is a board member-at-large for the Midwest Chapter of LMA.